O devir grotesco: corpo, identidade e gênero na dança contemporânea

• Autor(a) principal: Ferreira, Marcelus Gonçalves
• Data de Publicação: 2017
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UERJ
• Texto Completo: http://www.bdtd.uerj.br/handle/1/8861
• topic: Contemporary dance; Grotesque; Body; Communication; Identity; Gender; Grotesco; Comunicação; Identidade; Gênero; Comunicação social; Dança contemporânea; Corpo; CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO

This thesis is dedicated to reflect on bodies, identities and gender through the study of the grotesque aesthetics in contemporary dance. The purpose of this research is to investigate the possibility of a new understanding of the grotesque in culture, through the observation of strategies of aestheticization of the phenomenon. The object of study of this research is the work of the choreographer André Masseno s (RJ), which evokes the identity and gender problematics and the discussion regarding which is the body for today s dance and society. The artistic treatment and the apparatus used for the construction of the grotesque-body effect in the performances, and the artist s position regarding the use of the grotesque technique in his pieces were observed. As theoretical background for this research, we invested in the comprehension of the grotesque phenomenon according to historical, aesthetic/artistic and social scopes, and its contextualization in contemporaneity. In a first step, we opted to clarify the genesis of the grotesque as ornamentation, considering that the modes of comprehension of the phenomenon are present since its conception. We employed Mikhail Bakhtin s and Wolfgang Kayser s theoretical approaches to the concept, which, not only provided a better understanding of the grotesque aesthetics, but also motivated the discussions on carnivalization of the body and grotesque scenic apparatus for dance. It was also necessary to reflect about the body and alterity: on how the body fits in on the identity construction processes, its relation with others and with difference; on the operation of social processes of categorization and ordering, and consequently, on the exclusion of behaviors and corporeities considered not adequate , abject and deviant from social norm. It was also relevant the relation between body and communication, to reflect on the body s permeability with its environment in the construction of the subjectivities and the language codes, and how this appears in the artistic treatment of dance. For this investigation, we thought the grotesque as an artistic apparatus of representational displacement , in which the phenomenon, with its ambivalence and its transformation ability, can help in the discussion of the dynamic processes of the new conformations and social requirements of contemporaneity, such as subjectivation, identification and gendering processes. The grotesque also shows itself as a powerful instrument to work the arts and dance in their use on of reflecting about corporeity, and to rethink the world, its rules and its norms. The grotesque displaces static representations and, therefore, allows us to reflect about society, our habits and constraints. Considering the speed and the variability of social transformations, and its reflect on the constitution of the bodies and their subjectivities, we propose in this analysis the comprehension of a becoming-grotesque , which appears to be more adequate for rethinking the plurality and the ambiguities of identity and gender in life, and in the aesthetic and artistic treatment of dance